Hayley Kiyoko’s debut solo record, Expectations, opens with an overture; the sort of prologue reserved in popular culture for 70mm theatrical widescreen epics of decades past. It’s a statement of intent from Kiyoko (previously a member of girl group The Stunners) – one can imagine her thought process; “This is going to be big. And it’ll probably need an intermission. And maybe some song-suites thrown in for good measure.”
Does the LP live up to its promise? Largely.
Previewing the album with a pair of rather convincing singles in 2017, Expectations has quality in abundance beyond its hits. For reference points on the sleek synth pop on offer here, see Chvrches, Robyn, or the less angular moments of Röyksopp’s output. ‘Expectations (Overture)’ sets something of a template; huge in scope, dreamy, a rich mix, transportational. The stage is set for what follows.
Including two singles and a couple of back-to-back song suites, the core of the LP (‘Sleepover’ through to ‘Curious’) presents an incredibly strong run of tracks. The deceptively wistful, melancholic lead single ‘Sleepover’ combines gorgeous sequenced synth guitar, breathy backing vocals and airy synth pads to create a light, yet sorrowful track. Taking a cue from Visions-era Grimes, there is some invitingly tangled vocal layering at the back-end of the track. It’s singular on the record in its use of space, though; the quiet microseconds between elements allowing a stretch of the legs, on an album which otherwise provides precious little room for the listener to breathe. The LP’s mix, courtesy of a number of different producers, is consistent in this sense; vocals mixed incredibly high (often multi-tracked) sitting atop a hefty soundscape in which there’s always something happening. It’s glossy, brash and, at times, altogether a little too heavy.
‘Mercy / Gatekeeper’ is the first of Expectations’ two song suites. Across the tracks, vocals distort, left-field percussive elements are introduced (water-drops?!), a haunting voiceover channels the angular artistic pretensions of Kate Bush’s Hounds of Love, all before things devolve into a chiptune frenzy. Indeed, there is something exciting unfolding here.
‘Under the Blue’, the opening song in the follow-up suite, manages to make effective use of those ultra-assertive vocals. Without them to focus the mix, its weighty chorus might just collapse in on itself. Following this, the synth bass on ‘Take Me In’ may qualify as the most moreish element on the album, as it bends and glissandos all over the track.
The record’s latest single, ‘Curious’, initially feels like template-derived pop; all banal lyrics and uninspired percussive sequencing – the song feels like it borders on the obvious. But it’s all about the delivery, and Kiyoko nails it. The faultlessly frantic way in which she performs the track’s chorus all but forces one to forgive the song its shortcomings. Bookending the core of the album are two of its weaker tracks; both ‘What I Need’ and ‘Wanna Be Missed’ are largely unremarkable pop-by-numbers, despite the album-best Marina Diamandis-channeling vocal performance on the latter.
Variations on the “lesbian girl wrestles emotionally with less-experienced bi-curious best friend who struggles to be honest about her burgeoning gay feelings” theme reoccur across the album (“When we’re all alone, girl, you wanna own it / When we’re with your fam, you don’t wanna show it”, from ‘What I Need’). But in an industry which at times flirts with these topics, not always with sincerity or candidness, it’s a welcome change to hear such sentiments and messages delivered in a genuine way. And Kiyoko’s voice is authentic.
Album highlight ‘Palm Dreams’ eschews the prevailing lyrical themes found elsewhere, though. The track distills perfectly into song the romantic, playful, summery, yet not-necessarily-faithful-to-reality portrayal of California fed to us from television and film. It’s immensely fun. Just try listening to it without smiling, or at the very least nodding your head. The perfect driving song (top-down, of course), its five and a bit minutes just evaporate.
Stick around for the album’s two most musically interesting tracks, sequenced at the LP’s conclusion. ‘Molecules’, the closest the record comes to a ballad, is a jarring mixture of styles and textures. Sonically fascinating, its keyboards, floating backing vocals, double-tracked acoustic guitar, elusive electric lead guitar and driving kick drum build to a crescendo that almost hits, before the whole thing revisits the gloriously unhinged chiptune of ‘Gatekeeper’. Despite not quite reaching its potential heights, the song still soars. Meanwhile, closer ‘Let It Be’ is ripe for live sing-alongs – dramatic, with a vast chorus. Both tracks provide further evidence of Kiyoko’s willingness to play in disparate sandboxes.
Expectations works as a solid debut full length. In part because of its innovative contemporary synth pop song craft, courtesy of both Kiyoko and her corps of co-writers. It’s also sonically vibrant, thematically essential and like the best pop, great fun to listen to.
All of which makes Kiyoko‘s sophomore effort one worth waiting for.
Reviewer : Stephen Benko-Nehme